Cal. I shall be pinch'd to death. Alon. Is not this Stephano, my drunken butler? Seb. He is drunk now: where had he wine? 280 Alon. And Trinculo is reeling ripe: where should they Find this grand liquor that hath gilded 'em? How camest thou in this pickle? Trin. I have been in such a pickle since I saw you last that, I fear me, will never out of my bones: I shall not fear fly-blowing. Seb. Why, how now, Stephano! Steph. O, touch me not; I am not Stephano, but a cramp. Pros. You'ld be king o' the isle, sirrah? Steph. I should have been a sore one then. Alon. This is a strange thing as e'er I look'd on. [Pointing to Caliban. 290 Pros. He is as disproportion'd in his manners As in his shape. Go, sirrah, to my cell; Cal. Ay, that I will; and I'll be wise hereafter And worship this dull fool! Pros. Go to; away! Alon. Hence, and bestow your luggage where you found it. Seb. Or stole it, rather. [Exeunt Cal., Steph., and Trin. 300 Pros. Sir, I invite your highness and your train To my poor cell, where you shall take your rest For this one night; which, part of it, I'll waste With such discourse as, I not doubt, shall make it Go quick away; the story of my life And the particular accidents gone by Since I came to this isle: and in the morn Of these our dear-beloved solemnized; Alon. 310 I long To hear the story of your life, which must And promise you calm seas, auspicious gales And sail so expeditious that shall catch Your royal fleet far off. [Aside to Ariel] My Ariel, chick, That is thy charge: then to the elements Be free, and fare thou well! Please you, draw near. [Exeunt. EPILOGUE. SPOKEN BY PROSPERO. Now my charms are all o'erthrown, And my ending is despair, Unless I be relieved by prayer, IC Which pierces so that it assaults Mercy itself and frees all faults. As you from crimes would pardon'd be, 20 NOTES. THE Dramatis Personæ are given in the folios at the end of the play. ACT I. Scene I. 3. Good refers probably to the preceding Here, master,' not to 'what cheer?' Such phrases as 'good my lord,' 'good my friends,' are very common; whence 'good' comes to be used without an accompanying noun, as a kind of interjection, as in Hamlet, i. 1. 70, 'Good now, sit down,' and line 16 of the present scene, 'Nay, good, be patient.' See also Winter's Tale, v. 1. 19, 'Now, good now, say so but seldom.' In line 20 'good' expresses acquiescence in the Boatswain's request. Ib. yarely, nimbly, handily, deftly. Compare Antony and Cleopatra, ii. 2. 216, ‘hands That yarely frame the office.' 5. cheerly, adverb formed from the noun, like ‘angerly,' 'hungerly,' 'masterly,' &c. Abbott's Shakespearian Grammar, § 447. 6. yare, from A. S. geáro, ready, prepared. It occurs again in line 37 of this scene, and in Antony and Cleopatra, v. 2. 286, 'yare, yare, good Iras; quick.' Also in v. I. 214 of the present play, where it applies to the ship, not the seamen. Ray gives it as a Suffolk word, and in the speech of the Lowestoft boatman at this day 'hear, hear,' is probably only a disguised form of 'yare, yare.' Ib. Tend, attend. We have the same form in i. 2. 47 of this play, and in Hamlet, iv. 3. 44, 'The associates tend.' For whistle compare Pericles, iv. 1. 64, and iii. 1. 8, 7. Blow... 'The seaman's whistle Is as a whisper in the ears of death, Unheard.' This is of course an apostrophe to the storm or the spirit of the storm. There is no need to adopt Steevens' conjecture, 'Blow till thou burst thee, wind!' See Pericles, iii. 1. 44, 'Blow and split thyself.' Ib. if room enough. Observe the ellipsis. Sec Abbott, § 403. The meaning is if there be sea-room enough.' Compare Pericles, iii. 1. 45. But sea-room, an the brine and cloudy billow kiss the moon, I care not.' 8. have care. Elsewhere Shakespeare seems always to have used the ordinary phrase 'have a care,' and with something to follow. 9. Play the men. See 2 Samuel x. 12, 'Let us play the men for our people;' and Shakespeare, I Henry VI, i. 6. 16, 'When they shall hear how we have play'd the men.’ II. boatswain. The word is spelt in the folio in this place 'boson,' in accordance with the sailors' pronunciation. 13. you do assist the storm. Compare Pericles, iii. 1. 19, 'Patience, good sir; do not assist the storm.' The coincidences between the two plays are remarkable. 15. What cares these roarers. When the verb precedes the plural noun which governs it, it is frequently in the singular, as in iv. 1. 264, 'At this hour Lies at my mercy all mine enemies.' And Cymbeline, v. 5. 233, in the folios, How comes these staggers on me?' This construction, though so commonly used, was no more grammati cally correct in Shakespeare's time than it is in ours. In many instances it may be due to transcriber or printer. For example, in Richard II, iii. 4. 24, the first folio reads 'Here comes the gardeners,' but the first quarto, by far the best authority for the text, has Here come the gardeners.' The second and following quartos have by mistake 'cometh,' which the printer of the folio, copying the fourth quarto, changed to 'comes.' Doubtless Shakespeare himself often used this license inadvertently, and did not hesitate to avail himself of it when the rhyme required it, as e. g. Richard II, iii. 3. 168, 'There lies Two kinsmen digg'd their graves with weeping eyes.' 16. roarers. In the language of Shakespeare's time a blustering bully was called a roarer. See Massinger, The Renegado, i. 3, 'A lady to turn roarer, and break glasses.' Compare 2 Henry IV, iii. 1. 22, 'Who take the ruffian billows by the top.' 21. present, present time. So Macbeth, i. 5. 58, 6 Thy letters have transported me beyond And I Cor. xv. 6, ‘Of whom the greater part remain unto this present.' Ib. hand, handle. Cotgrave translates manier, to handle, hand, manage, wield, use, touch.' 24. hap. Compare Hamlet, i. 2. 249, Whatsoever else shall hap to-night.' We find 'hap' a substantive in Richard II, i. 1. 23, Envying earth's good hap.' |